Best Christine in Phantom of the Opera - Top Ten List - TheTopTens® Best Christine in Phantom of the Opera Who�s voice is the most impressive out of all the Christine's on Broadway? The Top Ten 1 Sierra Boggess Not only is she impeccable singer, she is a wonderful actress and dancer. Every emotion and expression is real. To me, she IS Christine Daee. Sarah Brightman used to be, but not anymore. Every note Sierra sings is beautiful, and was the prefect choice for the 25th Anniversary and the sequel (although many did not like the story-line, it doesn't change the fact that her voice was superb). Her performances are flawless and nobody can hit the final note of 'The Phantom of the Opera' like her. One of the best sopranos of our time. She is the best of the best. Sierra is vocals, looks and acting skills in one combined. I personally think that if there is someone who is perfect to assume the role of Christine after Brightman, that is her. The very first time I fell in love with her voice is when I saw her title song performance at the 2012 Classic Brit Awards.

Her voice has the perfect balance of being angelic and powerful at the same time. Every note that she sings perfectly depict the emotion. Not to mention that she is also as pretty as her voice. Sierra is the perfect "Chrissy" for me and thanks to her, I need a Phantom rehab. I have been checking out most of all the listed singers here on their Christine's part. I found, by far Sierra is the most talented and suited for the role of Christen. I am very sure she had worked out very hard on this and it was definitely rewarded. There is a clear reason why she has been chosen as Christine for the 25th Anniversary performance of Phantom at Royal Albert Hall this year among all of Christine's in the past. Because she is the best. Sierra has all the characteristics of a Christine Daee. With the angelic and powerful voice, a pretty face, and emotions all in one lady. V 78 Comments 2 Sarah Brightman She IS Christine; her singing is spot on. Maybe I can see why people would like another in terms of acting. What I want to know is why people think Emmy Rossum is remotely acceptable as a singer?

To me, her singing is not smooth; the way she moves from key to key is bewildering and varies so much in style because she struggles to hit the intended notes. And some times, I think she is just plain off-key. Her singing is weak and breathy (in a bad way). (And the recording for the recent movie has much too much sibilance, so much so it interrupts intelligibility of the words being sung). Just love her voice.. Always have since I first heard her sing. She is a natural.. Not affected.. Just a pleasure to listen to. I have many of her recordings. I'm a grandma but my daughter, her daughter and her granddaughter love her. Three generations.. The oldest 87 and the youngest is 6. Yes the part was written by Andrew Lloyd-Webber for Sarah Brightman, and she had not only the superb voice, but the theatrical, melodramatic quality Phantom requires. Sorry, but Sarah gave the birth to Christine I saw her performing the phantom the opera and the last note was the most powerful I ever heard V 2 Comments 4 Samantha Hill A very charming Christine! Young-looking, very vibrant and wonderful Samantha on stage! I fell in love the moment she appeared on stage!

Awesome Christine! First one that I saw and always the best for me! V 2 Comments 5 Sara Jean Ford Best Christine in my opinion, voice performance was perfect and she understands the character very well. I realize there are other very good actresses for Christine but so far I have not seen one that is better than Sara. V 2 Comments 6 Sarah Lawrence She doesn't play Christine, she is Christine when she is on stage. She fully understands her part and bring it to such light. Her voice is stunning and captures everybody who see's her. Beautiful voice, and lots of chemistry onstage with leading men. 7 Rebecca Caine Her voice is so hauntingly beautiful, and I love how she gives Christine's voice a darker edge. I love her control, and cadenza at the end of Think of Me. The only flaw is that she sounds a bit too operatic to play Christine who is supposed to be a young light lyric soprano. Nonetheless, she is a nearly flawless Christine, and her voice really is angelic. - Anon The only recording I will listen to is the original Canadian cast, they are flawless. Rebecca is the most impressive Christine, her version of think of me is brilliant.

She became the lead Christine when the Canadian version of the show began. Colm Wilkinson and Rebecca Caine make the perfect pairing. She's GREAT. Plus, she has the advantage of performing with Colm Wilkinson... V 8 Comments 8 Emmy Rossum She has a voice of an angel. Her voice sounds sweet and I love all about her. I hope haters would stop being too critical because Emmy wasn't even near to bad, she was great! Maybe not splendid. I'm sorry to say but Sofia Escobar's voice sounds like "speaking voice" and only good when she sings Wishing You Were Somehow Here Again. But then again, it's an easy song. I am an operatic singer and I know this. I don't understand why people keep complaining saying that Emmy sucks, please grow up. Most of you haters think that you really now of operatic voice? People say that Emmy's voice was lack of vibrato? People, even operatic singer don't use that much vibrato. Of course, when I tell them this, they would say "It is a musical not an opera! ". I don't understand?

You said that her voice wasn't really sounding operatic but when proved wrong, you came up with "it's a musical not an opera! "? Alright, you may continue to hate on Emmy but she did a wonderful job. She was 16 when the ... more People need to remember how old Emmy was when she did Phantom of the Opera! I think most people don't like her because of the director, the fact that she is gorgeous, and Gerard Butler. I've been told I sound just like Emmy Rossum singing in POTO, including my voice teacher, even though I'm younger than Emmy was. (I'm 13) Sierra Boggess has a great voice and I love her in The Little Mermaid, but I just don't think her voice is right for Christine. She doesn't sound quite young enough, clear, and innocent. She's always just slightly off key. If people mention Phantom of the Opera, I immediately think of Emmy and her voice. I've been hearing her for as long as I can remember and in my eyes, she will always be Christine. One of the biggest characteristics of Christine is her voice is NOT operatic, it is innocent, and clear.

Emmy Rossum let the music move her to sing in just such a fashion. The only other one on this list who came close to doing this in my eyes was Rebecca Caine. It's true her voice leaned towards operatic, but her notes were bang-on every time, and clear. Yes, her and Gerald Butler were amazing together. The Contenders 11 Gina Beck She and Emmy Rossum are the best! :) then Sarah Brightman in the third place! I think their voices are the most suitable for the role of Christine Daae! SO IN LOVE WITH HER VOICE HER INNER HER PERFORMANCE and ANYTHINGs ABOUT HER I DO LOVE HER SHOWS in any CHARACTERS :)) I was expecting to see Gina in the top ten at least! I'm so sad she stopped doing Phantom before I had a chance to see her :( her Think of Me cadenza is beautiful and her Final Lair is the best I have heard (in addition to Sierra Boggess).

She and Sierra are Christine to me - also, Gina Beck is really really pretty V 1 Comment 12 Katie Hall Katie just is Christine, she sounds magnificent, and sounds the right age - the result is far more dramatic, and credible, than the norm - which often has someone 10- 15 years older pretending to be a stressed teen in a terrifying situation. Never seen the story work better. Heard Katie with John Owen Jones and was blown away with both of them. Beautiful voice. Power and pure! Katie is better than any Christine! V 5 Comments 13 Emmi Christensson She gave an incredible performance when I saw her perform April 2015, she gave Sierra a real run for her money. In addition to her beautiful voice, she IS Christine, blonde and Swedish like the character in the book. Her Christine is amazing! Se has such an amazing voice and her acting is great.

I had doubts about a blonde Christine, but after seeing her performance, she is now on par with Sierra Boggess in my opinion 14 Rachel Barrell She is lovely, I think she can really bring Christine's innocence and purity to the role, Though she may need a few acting lessons, she has a gorgeous voice I have checked quite a few Christine's. Maybe er voice is not my favourite but is the first time I have seen an innocent and lost Christine. She is my favourite by far for acting. She really is lovely. I suppose she brings a kind of innocence and purity to the role. She is a brilliant actress in the Final Lair. Her Blod and Flesh belting is awesome. I would love to see her in something other than Phantom. Maybe she could be in Beauty and the Beast as Belle. I would love to see that. Anyone else? Innocent, sweet and kind. Enough said. Christine is nit just about the voice. If she s we would go to a concert. Rachel is the best actress V 1 Comment 15 Anna O'Byrne Anna makes such a lovely Christine. She has strikingly beautiful features and a very powerful voice. Her performance in Phantom and Love Never Dies was beyond perfect.

It was flawless and phenomenal. She's the BEST Christine for me. Anna is by far the superior Christine. Out of all the women that have played her, she is definitely the most beautiful one, no competition, and since she's had operatic training she knows how to control her voice and not scream out the notes. She played a perfect Christine in the sequel "Love Never Dies" even better than Sierra, her acting was perfect and her voice was outstanding and was soaring and no wonder why Andrew Lloyd Webber chose the Australian cast version to put on film he said himself it was the best performance he had seen. Anna O'Byrne isn't in the top ten! An outrage! Her beauty and youthful features that scream Christine Daae only cut the surface. Her voice is powerful and radiant with her Operatic training clearly evident, while being one of the only Christine's that don't suffer from making their voice sound older than it should. She is absolutely Christine! She has nice singing, but her acting is so cold V 7 Comments 16 Julia Udine I saw her on tour... what a talent her voice is like a butterfly although its not strong its beautiful!

But I see why shes not on the top ten list b/c like I said the butterfly thing other Christine's Like sierra is a great Dane she can eat that butterfly in one bite. Leading lady of the new West End Production in which Udine is lovely and enchanting. a superb voice to out duel Carlotta makes this starlight a must see I saw her on tour... she is amazing her voice reminds me of a butterfly, it may not be strong but its beautiful and it floats perfectly with everything. Her acting is also very good she has so much emotion. She is small but powerful voice! Mary is truly amazing! She should be in the top ten! 19 Lisa Vroman To me, Vroman did a superior job at delivering the emotion, appeal, character, and style of Christine. Her particularly lovely voice was able to deliver the range of notes with clarity and volume, we could hear the vocals distinctly. To me, she's #1 Her growth from a quiet young girl to a woman who makes her own decisions is beautifully done, and she maintains a beautiful singing voice, correct for the role, the entire performance.

If I were an audience member watching one of the of operas within the show, I wouldn't want a refund if Christine, as played by Lisa Vroman, took over the role from Carlotta. Her Christine makes it more believable that she would rival the diva of the opera house. 20 Beth Southard The Phantom of the Opera (2004) - FAQ The content of this page was created directly by users and has not been screened or verified by IMDb staff. Visit our FAQ Help to learn more FAQ How much sex, violence, and profanity are in this movie? For detailed information about the amounts and types of (a) sex and nudity, (b) violence and gore, (c) profanity, (d) alcohol, drugs, and smoking, and (e) frightening and intense scenes in this movie, consult the IMDb Parents Guide for this movie. The Parents Guide for The Phantom of the Opera can be found here . What is 'Phantom of the Opera' about?

When Carlotta ( Minnie Driver ), the diva of the Paris Opï¿½ra House, refuses to perform due to threats from the mysterious 'Opera Ghost', young chorus-singer Christine Daae ( Emmy Rossum ) is substituted in her place, having been coached by the Phantom ( Gerard Butler ), who Christine knows as her 'Angel of Music' but who is actually a disfigured musical genius living in the sewers beneath the Opï¿½ra House. When Christine falls in love with the Opera's new patron, Vicomte Raoul de Changy ( Patrick Wilson ), the Phantom's heart is broken and turns to rage. What does "Hand at the level of your eyes" mean" The Phantom is known for strangling his victims with his famed "Punjab Lasso" (noose). By keeping your hand at the level of your eyes, you create a space between the noose and your neck, allowing you to escape and render the rope useless. Did everyone sing their own part? Everyone in the movie does their own singing, except for Minnie Driver as Carlotta, who was dubbed by Margaret Preece; she had previously played the role on stage in London.

Driver does sing the song "Learn to Be Lonely" during the end credits. Why wasn't the deformity worse? That was a judgement call on the part of the production team. From the Q&A with Joel Schumacher on the official website: "Even though the make-up in the stage show is grotesque, and very much a copy of the Lon Chaney make-up, I felt the audience is smarter than a lot of obvious prosthetics. The Phantom is very disfigured and the right side of his face is quite tragic. Christine, however, always looks past that and views him with compassion as she sings, 'This haunted face holds no horror for me now / It's in your soul that the true distortion lies.' I did not want to bring you 'Freddy Krueger Goes to the Opera!'" From a costume designer in the Notes section of the official movie website: "Like the design of the Phantom's costume and mask, his underlying physical deformity had to be rendered convincingly, without alienating the audience in the process. We didn't want his disfigurement to be horribly grotesque. It was about trying to find the real person behind the mask.

We want the audience to see his attractiveness, his anger and his vulnerability." Shircore, an Oscar winner in 1999 for her work on Elizabeth, based her design for the Phantom's disfigurement on a medical condition, underscoring the character's background as a misunderstood former sideshow freak. A life cast was made of Butler's face, from which gelatin prosthetics were created and then applied during a four hour process. However, fans have pointed out that in that time period, far worse deformities would have been seen every day on the street, ranging from skin diseases to combat-related injuries to birth defects. In the show, Christine sings of the Phantom, "Distorted, deformed, it was hardly a face," which some feel should have been rewritten or excised given the decision to minimize the Phantom's deformities. Scholars of circus and sideshow history have pointed out that such a relatively mild condition would in no way have qualified someone as a circus freak. Why does the Phantom's hair change color? The Phantom has access to many costumes, wigs, make up, and prosthetics, which can be seen in his lair.

The dark and slicked-back hair was a wig; you can see the Phantom adjusting it before 'Don Juan Triumphant'. What you see after the Phantom's "un-masking" is what he really looks like, without any prosthetics, wigs, make up, or a mask to cover his deformities. How many rings are in this film? There is only one ring, the ring Raoul gave to Christine. According to the scene description in the script during the final lair scene - "He holds up the ring he tore from her neck." So yes, it is in fact the ring Raoul gave Christine which the Phantom then took from her during the Masquarade scene. Why aren't Michael Crawford or Sarah Brightman in this film? Joel Schumacher wanted to reduce the age of the characters for increased audience appeal. Crawford and Brightman were to appear in the film 15 years ago; as the character of Christine in the novel is 16 years old, Sarah Brightman is now too old for the part. Schumacher reduced the ages of the characters still further. There is a secondary reason to this, too.

Crawford and Brightman were originally meant to be in the film when it was first written, however, due to time restraints, personal matters and other projects that Webber had to contribute himself to, the film was placed on hold until it was at a time where Crawford and Brightman were either no longer interested or too busy to dedicate themselves to the film. Why does Christine kiss the Phantom at the end? According to the scene desription in the script - "She calmly puts the ring on her finger and kisses him full on the lips. The Phantom is stunned. Then, she leans toward him and embraces him again. But this time the kiss is long and deep. A lover's kiss. As it ends, they look straight into each others' eyes. The Phantom is crying, devastated. He has never known human love. Christine's gesture - her sacrifice and at the same time commitment - are too much for this tragic man to bear." What is the significance of the music box? The music box was something the Phantom made for himself (suggested from the toy he had at the gypsy freak show). It played for Christine when she woke up in the Phantom's lair, and it played for the Phantom after he let Christine go.

You "Little Prying Pandora!" Pandora plays an intriguing role in Greek mythology. According to the most well known legend, she was the first woman, created by Zeus, the ruler of the gods. Zeus was assisted in his task by other Greek deities, including Aphrodite, the goddess of love and beauty, who used her powers to bestow upon Pandora grace and loveliness; Hermes, messenger of the gods, gave Pandora persuasion; and Apollo, god of music and the arts, favored the woman with musical skill. Because of the gifts of the gods, Pandora was very attractive - her name even means "all gifts". However, Pandora had a flaw. She was curious. When she encountered a jar that belonged to Epimetheus, she could not resist learning about its mysterious contents, and so she therefore opened it. This jar contained all of the evils, which were then released into the world. The only thing that remained in the jar was hope. She, as the first woman, created after man, is sometimes compared to Eve in Hebrew myth. (Source) . Thus, Christine is the 'Pandora' of the story because, in her curiosity, she unmasked the Phantom, releasing his underlying anger.

"Don Juan Triumphant" Don Juan Tenorio is the subject of a morality play "El Burlador De Sevilla" by Tirso De Molina (1571?-1648), written to illustrate the mistake of too much faith. In the original play, Don Juan thinks he can do as he pleases, with plenty of time to repent and be forgiven before his death. This is a fatal miscalculation. Don Juan has made more than a thousand sexual conquests, but while preparing to seduce Doï¿½a Ana, he is discovered by her father, the Commander, who challenges him to a duel. Don Juan kills the Commander and escapes. Don Juan later passes the tomb of Ana's father, graced by a statue of that dead commander. The statue speaks, warning Don Juan that he will be punished for his wickedness. The statue offers his hand and Don Juan, fearless to the last, takes it. The statue takes Juan's hand in an unbreakable grip. A fiery pit opens and the statue drags Don Juan down into Hell, with no time to repent.

The story has been retold in a play by Moliere (``The Stone Feast,'' 1665), a long poem by Byron (``Don Juan,'' 1819-24), an opera by Mozart (``Don Giovanni,'' 1787) and in a four-act play by George Bernard Shaw ("Man and Superman"). The third act of the Shaw play, frequently presented alone as "Don Juan in Hell" is the Shavian notion of what the main characters, Juan, Ana, and the Commander might discuss with the Devil. Source . How do the stage show and film differ? There are many differences. For example, in the musical, the story occurs in 1881, while the movie takes place in 1870. In the movie, the ages are all shifted to be much younger than in the book or on stage. On stage and in the novel, Christine and Raoul are in their 20's, Phantom in his late 40's-50's. Mme. Giry was never Christine's caretaker in the stage musical, and her relationship to the Phantom is never fully explained.

In the musical, he is given a back-story (albeit briefly) much closer to that in the book, of a man who has traveled widely for much of his life and who helped to actually build the opera house. In the musical's "Think of Me", the backdrop falls, but it doesn't actually hit Carlotta as it does in the 2004 film, it just frightens her. Many of the costumes are different, and given more detail in the movie. In the stage show, the Phantom always wears a 'white tie', i.e., a white bow tie, shirt and waistcoat and a black tuxedo as well as a large black fedora, which is completely missing from the movie. In the musical, there is no horse in the scene where the Phantom leads Christine to his underground lair. In the ballet scene of "Il Muto", the stage version has the Phantom's shadow behind the backdrop, scaring the dancers. The movie doesn't have this. Many of the Phantom's actions in the stage show are not explained, giving him a more ghostly persona.

In the movie, however, most of his actions are shown/explained to emphasize that he is simply a man, not a ghost, i.e. in the stage show, he 'magically' makes Carlotta sound like a frog and laughs maniacally when Carlotta starts croaking. In the movie, we are shown the Phantom swapping Carlotta's throat spray in order to achieve this effect. Other examples of this are indicated by an asterisk (*). The chandelier drops after "All I Ask of You" at the end of Act 1 on stage, directly after the lyric "all that the Phantom asked of you!", instead of after "The Point Of No Return" as in the movie. This also prompts a lyric change in Masquerade from "...to the new chandelier!" to "...to our friends who are here!" The chandelier in the movie is considerably larger than on stage and of a different design whereas the stage version is very similar to the chandelier at the Paris Opera House seen here . On stage, the chandelier's drop narrowly misses the 'curtain call' of the cast of 'Il Muto' as they jump out of the way.

However, the only damage done is to the chandelier whereas, in the movie, the chandelier sets fire to the Opera Populaire. In 'Masquerade', the costumes are very bright and colorful in the stage versions, with people dressed as animals, clowns, and other creatures, including a costume very similar to the monkey on the music box complete with symbols. In the musical, the costumes are simplified, more ballgowns than costumes, and primarily black, white, and gold, giving it a more orderly and elegant effect. Managers Andre and Firmin dress in skeletal costumes on stage but dress in different costumes in the movie. Also, a reprise of "Notes/Prima Donna" that takes place after "Masquerade" was edited down and then rearranged throughout the movie, as were many other "Notes" scenes. The Red Death costume on stage has a full skull mask with moving jaw, a big red fedora with a plume, and is generally a much more ornate and theatrical costume than seen in the film version, complete with cloaks and a staff.* The mirrored room beneath the staircase is not featured in the stage musical.

(This mirrored room was put in the movie as a reference to the Phantom's torture room in the Leroux novel.) The original reprise of "Notes" was combined with "Why So silent?" A rehearsal scene of "Don Juan Triumphant" is omitted, in which the cast go through their first play-through of the show but don't take it seriously, and Piangi can't sing the part until the Phantom possesses the piano and everyone suddenly sings perfectly. * In the stage version of the cemetery confrontation, the Phantom conjures up lightning and shoots fireballs from his staff instead of sword fighting with Raoul.* In "Don Juan Triumphant," the Phantom does not wear a stylised Latin outfit but instead wears a cloak completely over his body and head. There are no flamenco dancers in "Don Juan" / "The Point of No Return" in the stage version as the scene is set in a banquet hall with the cast wearing traditional costumes. The movie version is set in a set which looks like Hades and has a Latin feel. The Phantom is far more deformed in the stage version than in the movie. In the movie he has bumpy, discolored skin and thinning hair.

In the stage version, he has giant cracks in his skull, wispy hair, one of his eyes is whited out, giant swollen lips, burns, cuts and generally more deformation.* When unmasked in "The Point of No Return", he runs off out of sight with Christine instead of dropping through a trap door. Instead of smashing a mirror and leaving through a secret passage after Christine and Raoul leave, the Phantom sits in his throne, and covers himself with his cape. Meg is the first to arrive in the lair, and lifts the cape from the throne, to reveal that the Phantom has disappeared, leaving only the mask. After "Masquarade" in the stage version, the actual Phantom runs off stage in a flash of darkness as a double appears at the top of the staircase and runs up the stairs to give the illusion that the Phantom apparrated. In the movie, he drops through a hole in the floor and Raoul follows him with a sword. However, the hole leads to a circle of mirrors planted by the Phantom and Raoul does not land a blow.

There is no such confrontation in the stage version.* The stage version and movie soundtrack do not use the same lyrics for "Think of Me." During the reprise of "Angel of Music" ("Wandering Child") in the graveyard seen in the stage version, the Phantom is on top of the tomb and Christine is singing directly to him. In the film version, he is unseen but heard from within her father's tomb, while a red light grows from within it. In the stage version, Raoul presents his plan to trap the Phantom during his opera in front of all of the main characters, causing a scene in which Carlotta accuses Christine of plotting the whole Phantom hoax for her personal gain and Christine refuses to go along with the plan. This scene is following by the rehearsal in which the Phantom 'possesses' the piano. Pieces of this scene are used in different spots in the movie, but some of it is cut out. What is different between the movie and book? Several characters from the book are changed or completely excluded in the Webber version. In the book, Raoul has an older brother, Comte Phillippe de Chagny. He dies while trying to find Raoul in the Phantom's lair; the police suspect Raoul.

Mamma Valerius, Christine's adopted mother and a profoundly naiive influence on Christine, suggests to the young girl that she ask the mysterious voice singing in her room if it might not be the voice of the Angel of Music, sent to her by her dead father. Of course, the "Angel" agrees. The "Daroga," a retired Persian cheif of police, has followed Erik to Paris from his native land and regards it as his duty to mitigate Erik's bad behaviour. Without his help Raoul would never have succeeded in rescuing Christine. And Mme Giry, in the book, is not the ballet mistress, but the keeper of various boxes, including the Ghost's own: Box Five on the Grand Tier. She is his go-between with the managers, but is convinced that the Ghost is, in fact, a ghost. Meg is her daughter, but is only a simple ballet girl and has no connection to Christine. Buquet (who is never seen alive in the book) was not a letch, but rather well-loved by all; but his curiosity led him into a trap.

Piangi is not in the book at all, and when the Phantom kidnaps Christine from the stage, he only drugs those he needs out of his way, rather than killing them. In the book, Christine is a member of the chorus who occasionally takes on larger (but not starring) roles, not a dancer. In the movie the Phantom has watched over and guided Christine since she was a child. How long he has done so in the stage musical is not explicitly stated but seems to have been for a much shorter time. In the book he first contacted Christine only about six months prior to the events in the book. The stage show and movie take place in the fictional "Opera Populaire" whereas the book takes place in the Palais Garnier, the home of France's National Academy of Music, in Paris. The real opera house does not have dormitories; in the book, Christine shared a small apartment with Mamma Valerius and her maid. When the Phantom first opens the mirror and steals Christine, she is expecting her angel. In the book, however, when she sees the masked man before her in the dark tunnel, she believes that she has been snatched out of her angel's arms by the terrifying opera ghost.

She panics so much that he partially sedates her. During the catacomb scene, the first time the Phantom takes Christine down to his lair, the horse he puts Christine on for some of the journey is a black and nameless stallion. In the book, he is a white stolen prize stallion from the Opera Populaire stables called Cesar. In the movie, the Phantom has a lair next to a lake, from which huge candelabras arise. In his lair, he has a shrine for Christine, a small room containing the wax figure of her wearing a wedding dress and veil, his bedroom with a kind of bowl shaped bed with burgundy bedding, and an area with his organ, drawings of Christine and the sheets of music he composed. In the book. Her bed is fancifully carved in the shape of a bird and surrounded by drifting curtains. In the book, Erik's underground home is hidden in the outer wall of the lake, five stories below ground. Once inside it appears to be a perfectly normal middle-class apartment, albeit without any windows. Specifically mentioned are two bedrooms, a dining room and an ensuite bathroom.

Christine's room is furnished with perfectly ordinary furniture; the Phantom, however, sleeps in a coffin on a dais, and has the notes of "Dies Irae" repeated around the top edge of the room. Christine faints in the movie when the Phantom shows her his wax figure of her (which is actually Emmy Rossum made up to look waxy and porcelain) in a wedding dress and veil. In the novel, he apparently drugs her on the way to his lair. Once there, she revives and becomes perfectly lucid. At one other point (in the very beginning) she does faint, but it is after her first performance when the audience overwhelms her with their applauding; she awakens in her room to unexpectedly find her childhood friend, Raoul, with her. In the book Erik, when he firsts brings her to his home, explicitly confesses his deceit to her and admits that he is not an angel nor a ghost, but only a man, and that he loves her. He never does do this in either the movie or the musical.

In the book, the graveyard scene is quite different: Christine is told that if she travels to her father's modest grave, her "Angel" (for she does not know, at this point, that he is just a man) will play for her on her father's violin. She does so, hears the music, and leaves the cemetery; she is unaware that Raoul has followed her, and knows nothing of the (much briefer) confrontation between him and Erik, in which Raoul simply gets a brief glimpse of his unmasked face before he is knocked out. Erik's disfigurement is a birth defect in both the book and film. Joseph Buquet, whom he hangs later on in the movie and musical (in the book his body is discovered in the first chapter), describes his face with "Like yellow parchment is his skin. A great black hole serves as the nose that never grew." When Christine unmasks Erik in the book, he gets angry and grabs her hands, then forces her nails into off his own deathly skin. His disfigurement is far more extreme than in the Webber version: he is extremely skinny and looks more like a withered corpse than a living man.

Christine describes his hands as "smelling like death" and "skeleton-like". In the movie, the Phantom's disfigurement is only on the right side of his face and up the side of his head into his hair; he seems to otherwise be perfectly normal. In his unmasking in the reprise of "All I Ask Of You", his black wig comes off, revealing the deformity of the skin on his head, cheek and forehead, especially his eye. In the stage show the deformity is slightly larger (hence the slightly larger mask that covers his entire nose, with the drooping, malformed lips beneath), but covers basically the same area, more or less. However, it is far more extreme. At the end of the book, unlike the musical, there is no doubt that "Erik is dead." The movie heavily implies that he did, in fact, escape and survive. But in the book there was no avenging mob to escape; he simply dies of a broken heart, several weeks after releasing Christine and returning the ring he had given her, which she lost as she kissed Raoul on the roof.

He asks only that she return the ring once he's dead and that she bury him; Leroux's description of the body he found shows that she kept her promise. FAQ Christine Daaé | Phantom of the Opera | Fandom powered by Wikia Phantom of the Opera Christine Daaé is the main character and the female protagonist in Gaston Leroux 's 1910 novel The Phantom of the Opera , the young singer with whom the main character Erik falls in love. Sarah Brightman as Christine Daae in Andrew Lloyd Webber's 1986 musical adaption. Contents Edit The following is based on the Gaston Leroux novel, where the character originally appeared. Christine Daaé was born just outside of Uppsala, Sweden. Her mother died when she was 6 years old, and she was brought up by her father whom the novel refers to as "Daddy Daaé", traveling to fairs where he played the violin and she sang. They were discovered there by Professor Valérius, who took them to Gothenburg and then to Paris, providing for Christine's education. Christine was extremely close to her father, who told her Scandinavian fairy tales.

A story featuring an "Angel of Music" was her favorite. Christine's father passed away a few years after her mother, leaving her grief stricken despite the loving care of her "adopted" mother, Madame Valérius. She enters the Paris Conservatory and trains for four years to become a professional singer to honour her dead father and please Madame Valérius, but has lost all passion for singing. When Christine arrives at the Opera Garnier , she becomes one of the numerous singers at the Palais de Garnier. Although considered by many, because of her lack of passion for singing, as "sounding like a rusty hinge," one person finds the beauty still hidden in her tone: Erik, known and feared as the mysterious opera ghost. When Erik begins to tutor Christine, he tells her that he is the Angel of Music that her father had spoken of. Christine believes him, and he inspires her soul back into her voice. Christine debuts at a gala at the opera, after the singer Carlotta falls ill and she is asked to take her place, her singing is described as "seraphic".

Appearances in other media Edit In Andrew Lloyd Webber's 1986 London stage musical Christine is played by Sarah Brightman as Webber had written the part for her who was his wife at the time. She becomes the lead character, rather than Raoul de Chagny. The musical frequently portrays Christine as loving both Raoul and Erik (only called "the Phantom" in the musical), but in different ways. She shares a sweet comfortable bond with Raoul, and a passionate creative loyalty to the Phantom, tainted by his psychological manipulation of her. At the time of the show's second preview, Claire Moore, her original understudy, played the role of Christine as Brightman was unwell. The musical opened on Broadway in 1986 and starred Sarah Brightman as Christine and Patti Cohenour as her alternate. Today those roles are played by Julia Udine and Kaley Ann Voorhees. Love Never Dies Edit The musical sequel by Andrew Lloyd Webber In Love Never Dies (10 years after the events of the ALW musical) Raoul becomes a drunkard, and no longer shows Christine the same tenderness he did in The Phantom of the Opera.

Christine goes to New York, Coney Island, with Raoul and her son Gustave, after receiving a request to sing at an amusement park, Phantasma, from the owner Mr. Y. Once Christine arrives, she meets her old friend from the Opera Populaire, Meg Giry , who is now the lead singer at Phantasma. Then Christine learns that Mr. Y is none other than the Phantom, and we learn that Gustave is actually his son, not Raoul's. Soon, Meg gets jealous of Christine when she learns that the Phantom prefers her. In the end, she kidnaps Gustave and threatens to drown him in front of everybody. The Phantom attempts to take the gun that Meg is using to threaten them away, and Meg shoots Christine in all of the confusion. The Phantom rushes to the dying Christine, and she tells him of her undying love for him. After Christine dies, the Phantom hands her body over to Raoul. Gustave then embraces the Phantom, acknowledging him as his father. The first production opened in London starring Sierra Boggess in the role of Christine. Boggess was later replaced by Celia Graham. When an Australian production was opened, Anna O'Byrne was cast as Christine.

25th Anniversary In the 25th anniversary of Andrew Lloyd Webber's production for both London and Broadway, Christine was played by Sierra Boggess. Phantom of the Opera (1925 film) Edit Instead of a young and innocent blonde, Christine is portrayed as a brunette woman in her mid-twenties like in the musical. Her situation with Erik and Raoul doesn't differ much from the novel: she is still afraid of Erik while having an innocent sort of crush on Raoul. Phantom of the Opera (1990 TV Miniseries) Edit In the 1990 miniseries, Christine's story is changed dramatically. We don't know anything about her father or her mother, and Christine doesn't know anyone named Raoul; instead, Phillippe invites her to the Opera House to sing after hearing her at a fair. Christine first begins by working in the costume department, and it is when she is wandering the stage alone that Erik first hears her sing. Instead of coming to her as "The Angel of Music" in her dressing room, he approaches her in person to offer music lessons.

Phillippe becomes Christine's other love interest instead of Raoul, and Christine in turn finds that she loves Erik as well. Phantom of the Opera (2004 film) Edit In the 2004 film adaptation of ALW's stage musical, Christine's age was slightly altered. She is now portrayed as a young, sweet, innocent sixteen-year-old. Despite the age difference, Christine's character is pretty much the same as the 1986 musical. Sarah Brightman was considered for the main part but she and Webber were no longer romantically involved with each other. Katie Holmes who had been working with a vocal coach was first considered for the part but was then replaced by Anne Hathaway. However she dropped out as she was busy with another film. Hathaway was then replaced by Emmy Rossum. Dispute over age Edit Christine becomes torn between her love for her mentor Erik, and her love for her childhood friend Raoul de Chagny . In the Lofficier translation of the novel, it is stated that Christine is 15 years old. However, this is a mistranslation of a passage which says her heart was "as pure as that of a 15 year old".

The evidence of Christine's childhood friendship with Raoul, and her studies at the Paris Conservatory, put her age at 20. Gallery

Question: Which singer and actress first performed the role of Christine on stage in the musical Phantom of the Opera?
Answer: SARA BRIGHTMAN